Contents

Crawford was brought up by his mother, Doris Agnes Mary Pike, and her parents, Montague Pike and his wife, Edith (née O'Keefe), in what Crawford described as a "close-knit Roman Catholic family". His maternal grandmother was born in County Londonderry, Northern Ireland, and lived to be 99 years old.[2] His mother's first husband, Arthur Dumbell "Smudge" Smith,[3] who was not his biological father, was killed, aged 22, on 6 September 1940 during the Battle of Britain, less than a year after they married.[4][5] Sixteen months after Smith's death, Crawford was born, the result of a short-lived relationship, and given his mother's surname, which was that of her first husband.

During his early years, Crawford divided his time between the army camp in Wiltshire, where he and his mother lived during the war, and the Isle of Sheppey off the coast of Kent. The isle was where his mother had grown up and where Crawford would later live with his mother and maternal grandparents. He attended St Michael's, a Catholic school in Bexleyheath which was run by nuns who Crawford later described as not being shy in their use of corporal punishment. At the end of the Second World War, his mother remarried, this time to a grocer, Lionel Dennis "Den" Ingram. The couple moved to London, where Crawford attended Oakfield Preparatory School, Dulwich, where he was known as Michael Ingram. His mother's second marriage was abusive, according to Crawford.[6]

He made his first stage appearance in the role of Sammy the Little Sweep in his school production of Benjamin Britten's Let's Make an Opera, conducted by Donald Mitchell,[7] which was then transferred to Brixton Town Hall in London. He auditioned, unsuccessfully, for the role of Miles in Britten's The Turn of the Screw - the role being given to another boy soprano, David Hemmings; but it appears that Crawford's audition sufficiently impressed Britten as in 1955 he hired him to play Sammy, alternating with David Hemmings, in another production of Let's Make an Opera, this time at the Scala Theatre in London.[8] He also participated in the recording of that opera (as Michael Ingram, singing the role of Gay Brook) made that same year, conducted by the composer.[8][9] Then in 1958 he was hired by the English Opera Group to create the role of Jaffet in another Britten opera, Noye's Fludde, based on the story of Noah and the Great Flood.[7] Crawford remembers that it was while working in this production that he realised he seriously wanted to become an actor. It was in between performances of Let's Make an Opera and Noye's Fludde that he was advised to change his name, "to avoid confusion with a television newsman called Michael Ingram[s] who was registered with British Equity".[10]

In 1961 Michael Crawford appeared in an episode of One Step Beyond called The Villa in which he played a character experimenting with strobe lights. Crawford appears in the only surviving episode of the 1960 British crime series Police Surgeon alongside Ian Hendry. This series would spawn the much better-known The Avengers.

His later films fared less successfully, although Alice's Adventures in Wonderland, in which he played the White Rabbit, enjoyed moderate success in the UK. After performing in Alice's Adventures in Wonderland, and with offers of work greatly reduced and much of his salary from Hello, Dolly! lost, reportedly due to underhanded investments by his agent,[10] Crawford faced a brief period of unemployment, in which he helped his wife stuff cushions (for their upholstery business) and took a job as an office clerk in an electric company to pass the time between. During this difficult time, his marriage fell apart and divorce followed in 1975.[10]

Crawford's acting career took off again after he appeared on the London stage in the farce No Sex Please, We're British, in which he played the part of frantic chief cashier Brian Runnicles. His performance led to an invitation to star in a BBC television comedy series about a childlike and eternally haphazard man who causes disaster everywhere he goes. Crawford was not the first choice for the role of Frank Spencer in Some Mothers Do 'Ave 'Em. Originally, the part had been offered to comedy actor Ronnie Barker but after he and Norman Wisdom had turned it down, Crawford took on the challenge, adopting a similar characterisation to that which he used when playing Brian Runnicles. Cast alongside him was actress Michele Dotrice in the role of Frank's long-suffering wife, Betty, and the series premiered in 1973.

Some Mothers Do 'Ave 'Em soon became one of the BBC's most popular television series. Initially, only two series were produced, from 1973 to 1975, while the show's creators felt that it should stop while at its peak. There was a brief hiatus until popular demand saw it revived for a final series in 1978. The immense popularity that followed the sitcom was due perhaps to the unusual amount of physical comedy involved. Crawford said he had always been a fan of comedians such as Charlie Chaplin, Buster Keaton and Laurel and Hardy, as well as the great sight gags employed in the days of silent film, and saw Some Mothers as the ideal opportunity to use such humour himself. He performed all of his own stunts during the show's run, and never used a double.[10]

While he was playing in Some Mothers Do 'Ave 'Em, Crawford was approached to star in the musical Billy (based on the novelBilly Liar), which opened in 1974 at the Theatre Royal, Drury Lane in London. This was his first leading man role on the West End stage and helped to cement his career as both a singer and showman. The part was demanding, requiring proficiency in both song and dance, and in preparation for the role, Crawford began taking both more seriously, studying singing under the tutelage of vocal coach Ian Adam and spending hours perfecting his dancing capabilities with choreographer Onna White.[10]

Billy gave the many fans of Crawford's portrayal of Frank Spencer an opportunity to see him in a broadly similar role on the stage, and was a considerable hit (904 West End performances). After the closing of Some Mothers Do 'Ave 'Em, Crawford continued to perform in plays and musicals, starring in Flowers for Algernon (1979) in the role of Charley Gordon, based on the book of the same title. He pursued another role on a very short-lived ITV sitcom, Chalk and Cheese, as the slovenly, uncouth Dave Finn. The show did not go over well with his fans: the popularity of Crawford's portrayal of Frank Spencer, and the similar Billy Fisher character, had left him somewhat typecast, to the extent that they could not accept his very different role as Dave Finn. Crawford abandoned the show during its first series and returned to theatre work.[10]

Crawford starred in the 1981 Disney comedy/adventure film Condorman, playing an eccentric American comic book writer and illustrator named Woody Wilkins who is asked by his friend at the CIA to help a Russian woman to defect while acting out the fantasy of bringing his comic book creation, Condorman, to life.[16] Critics panned the film. On their television show, critics Gene Siskel and Roger Ebert featured the film in their round-up of the year's worst films pointing out the less-than-special effects such as the visible harness and cable used to suspend Condorman in the air and the obvious bluescreen effect. The film performed poorly at the box office but years later gained a cult following among Disney fans.[10]

Also in 1981, Crawford starred in the original London production of Cy Coleman's Barnum (1981) as the illustrious American showman P.T. Barnum. He trained at the Big Apple Circus School in New York City to prepare for the ambitious stunts, learning to walk the tight-rope, juggle and slide down a rope from the rafters of the theatre. After further training for the second opening of Barnum, he was awarded a British Amateur Gymnastics Association badge and certificate as a qualified coach.[10]

Barnum opened on 11 June 1981 at the London Palladium, where it ran for 655 performances. Crawford and Deborah Grant headed the cast. It was well-received, becoming a favourite of Margaret Thatcher as well as the Queen Mother. Crawford earned his first Olivier Award for Best Actor in a Musical on the London stage. After the initial production of the show, he worked extensively with Torvill and Dean, and can be seen rinkside with them as they received their "perfect six" marks in the 1983 world championships for their 'Barnum' routine.[17][18]

In 1984 a revival of Barnum opened in Manchester at the Opera House, ending the tour at the Victoria Palace in the West End. In 1986 this production, with a new cast, though still headed by Crawford, was recorded for television and broadcast by the BBC. Crawford's Barnum is one of the longest runs by a leading actor.

In 1984, at the final preview of Starlight Express, Crawford happened to run into the show's creator, Andrew Lloyd Webber. Lloyd Webber had met Crawford socially several times and remembered him from his work in Flowers for Algernon. He informed Crawford that he was working on a new project based on a Gaston Leroux novel and wanted to know whether he was interested. Crawford said he was, but the show was still in the early planning stages, and nothing had been decided. Several months passed, during which Lloyd Webber had already created a pitch video featuring his then-wife Sarah Brightman as the female lead Christine, and British rocker Steve Harley as the Phantom, singing the title song in the manner of a contemporary new wave video. Crawford was turned off by that, supposing the songwriter had chosen to do a "rock opera"-inspired spectacle in lieu of a more traditional operatic musical.[10]

Since casting Harley, however, Lloyd Webber had also begun to regret his artistic choices. As production continued on the show, the bulk of the score was revealing itself to be far more classical and operatic, entirely unsuited to Harley's rough, contemporary voice. Wanting instead a performer with a more classic, melodic voice, as described in the original book, he began yet another search for the perfect actor to play his Phantom. Crawford's landing of the role was due largely in part to the coincidence that Sarah Brightman had taken lessons with the same vocal coach as Crawford. She and her husband had arrived early for her lesson, and it was while waiting that they chanced to hear Crawford practising the aria Care Selve, from the opera Atalanta by Handel. Intrigued, Lloyd Webber asked Ian Adam who his student was. Soon after, Crawford was called in for an audition and was hired virtually on the spot.[10]

Many critics were sceptical; Crawford was still largely pigeonholed as the hapless Frank Spencer, and questions were asked about Crawford's ability to manage such a vocally and dramatically demanding role. In 1986, he began his performance in London at Her Majesty's Theatre, continuing on to Broadway in 1988, and then Los Angeles in 1989. He played the role for two and a half years and over 1,300 performances, winning an Olivier Award (Best Actor in a Musical), a Tony Award (Best Performance by an Actor in a Lead Role, Musical), a New York Drama Desk Award, and a Los Angeles Drama Critics Circle Award for Distinguished Achievement in Theatre (Lead Performance).[19]

During the run of Phantom in Los Angeles, Crawford was asked to perform "The Music of the Night" at the Inaugural Gala for President George H. W. Bush in Washington, D.C., on 19 January 1989. At the gala, Crawford was presented with a birthday cake (it was his 47th birthday). On 29 April 1990, after three and a half years and over 1,300 performances later, Crawford left the show. He admits to having been saddened at his departure, and, during the final Lair scene, altered the Phantom's line to "Christine....I loved you...", acknowledging that this was his final performance.[20]

At the request of Liz Kirschner, wife of film producer David Kirschner, he obtained the role of Cornelius in 20th Century Fox's animated film Once Upon a Forest, which was produced by David Kirschner. During his voice over sessions, Michael stated that he had a terrible time singing one of the musical numbers called "Please Wake Up". This was because he had to struggle not to cry when this was being completed, as the scenario was that his character Cornelius was singing to a child who was on the verge of death. The film was released in cinemas over the summer of 1993. 1993 also saw the release of his special, A Touch of Music In The Night, to coincide with the release of his new album of the same name.[citation needed]

In 1995, Crawford created the high-profile starring role in EFX, the US$70 million production which officially opened MGM's 1,700-seat Grand Theatre in Las Vegas. The Atlantic Theater label released the companion album to EFX. Early into the run, Crawford suffered an accident during a performance (which involved him sliding from a wire hanger from the back of the theatre all the way to the stage and then jumping down 12 feet (3.7 m) to the stage itself) and left the show to recover from his injury, which resulted in an early hip replacement operation.[21]

Crawford had a short comeback to Broadway as the Count von Krolock in the short-lived musical Dance of the Vampires (2002–03). He originated the role of the morbidly obese Count Fosco in Lloyd Webber's The Woman in White, which opened at the Palace Theatre, London in September 2004. However, he was forced to leave the show three months later because of ill health caused by dehydration resulting from the enormous fat-suit he wore during the performance. He spent several months recuperating and was thus unable to reprise the role on Broadway.[22] He learned he was suffering from the post-viral condition myalgic encephalomyelitis (ME), which debilitated him for six years.[23]

In 2006, Crawford attended the Gala Performance of the stage version of The Phantom of the Opera on Broadway at the Majestic Theatre to celebrate the show's becoming the longest-running musical in Broadway history (surpassing the run of Cats). He was delighted with it, stating this was the first time he had been an audience member of any of the shows he had done.[26]

On 23 October 2010, Crawford attended the celebratory 10,000th performance of The Phantom of the Opera in London alongside composer Andrew Lloyd Webber. Crawford spoke of his own memories of the first performance 24 years ago, and was then presented, along with Webber, with a special cake to commemorate the landmark achievement.[27]

In February 2016 the BBC announced that Crawford and Dotrice would be reprising their roles in a one-off special of Some Mothers Do 'Ave 'Em, to be broadcast as part of the Sport Relief charity fundraiser event.[32]

Crawford starred in the new West End musical The Go-Between which premiered on May 27, 2016 at Apollo Theatre.[33] He appeared in the 60th anniversary performance of Britten's Noye's Fludde in London in 2018, performing the Voice of God, and recalled in a BBC Radio 3 interview Benjamin Britten's valuable support in his early career.[34]

Crawford has performed many concert tours in the US, Canada, the UK, Australia and New Zealand in the last eighteen years, beginning with The Music of Andrew Lloyd Webber in 1992. In 1998, Crawford began Michael Crawford: Live In Concert tour around the United States. One performance, done at the Cerritos Arts Center in Los Angeles, was filmed and broadcast on PBS for their annual fundraiser. In 2006, he made a small concert tour of Australia and New Zealand, as well as a one-night benefit to open the LaSalle Bank Theatre in Chicago. He has also done various Michael Crawford International Fan Association (MCIFA) exclusive concerts around the United States.[35] The MCIFA makes contributions to many charities.

Since the late 1980s, Crawford has affiliated himself with various charities, particularly for the good of children. He is a patron of the Lighthouse Foundation in Australia, and has also been President of the Sick Children's Trust since 1987.[36]